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Thinking “Print”: Graphic Design and Elements in Two Dimensions

Karl Aspelund

Source: Designing. An Introduction, 2015, Fairchild Books Library

Book chapter

Designers Speak

‘At Once Classical and Modern’: Raymond Duncan Dress and Textiles in the Royal Ontario Museum

Alexandra Palmer

Source: Dress History. New Directions in Theory and Practice, 2015, Berg Fashion Library

Book chapter

I first learned about Raymond Duncan from a lecture on men in togas given by Lou Taylor in the mid-1980s. She showed an astonishing image from the turn of the century of a man walking along the banks of the Seine wearing a draped toga, sandals and pushing an enormous black perambulator. I was flabbergasted, not only by his appearance, but also by the fact that I had not heard nor read about such a colourful character during my years studying art, fashion and textile history. Since seeing his text

Givenchy Couture, Fall/Winter 1983

Aimee Williams

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Givenchy’s well-received fall/winter 1983 couture collection augured the opulence of the decade. Lavish surfeit came in many options for patrons, from jewel-encrusted leather boleros and skirt suits trimmed with mink and fox fur for day, to sequined metallic gowns for evening. Suede and leather gloves and hats and oversized jewels accessorized hand-painted silk skirts and dresses. The chemise and the hourglass shape prevailed. The former figure came in a range of sumptuous textiles, corresponding

Hope for the Future

Janelle Abbott

Source: Fashion Thinking. Creative Approaches to the Design Process, 2013, Fairchild Books Library

Book chapter

During the next phase in her process Janelle focused more on knit development (conceptualizing and creating samples) and textile manipulation (painting fabric), but also developing a colour story, and considering how to create zero-waste markers out of some of her sketches from the previous stage.

Hope for the Future

Janelle Abbott

Source: Fashion Thinking. Creative Approaches to the Design Process, 2013, Fairchild Books Library

Book chapter

Janelle’s final concept, inspired by dance, was one that literally threw the garments away from the body. The silhouettes were whirling dervishes suspended in space and time, with garments twisting around the body, restricting it in some places, and letting it loose in others. In particular, the oversized garments Janelle wore in the performance pieces informed many of the silhouettes. For example, a full circle skirt revealed its entire circle, an oversized men’s shirt revealed sagging sleeves,

Subtractive Color Mixture: Mixing Paints

James Thomas Long

Source: The New Munsell Student Color Set, 4th Edition, 2011, Fairchild Books Library

Book chapter + STUDIO

Artists and designers sometimes assume that the outcome of mixing paints or inks will be the same as that of mixing colored lights, and vice versa. While these processes are related, the methods and results of mixing light significantly differ from those of mixing paint. Chapter 9 presented information about mixing light. The aim of this chapter is to serve as a guide for mixing transparent inks and opaque paints.

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